Co-composers Rachel Portman and Jon Ehrlich have only met in person once, and collaborated across the globe while scoring Hulu’s “We Were the Lucky Ones.”
Despite this, both Portman and Ehrlich said that working across continents was one of the best parts of the process. Erhlich said: “She would work on something, and then I would wake up in the morning and go to the studio and unwrap a gift. Then by the end of my day, I was handing it off to her, and she could kind of pick up where I left off. It was really a kind of passing the baton back and forth.”
The series is an adaptation of Georgia Hunter’s best-selling novel of her family’s fight to survive the Holocaust while living in Poland. Joey King stars as Halina, Hunter’s great aunt alongside Logan Lerman as Addy, Hunter’s grandfather. Other cast members include Sam Woolf,...
Despite this, both Portman and Ehrlich said that working across continents was one of the best parts of the process. Erhlich said: “She would work on something, and then I would wake up in the morning and go to the studio and unwrap a gift. Then by the end of my day, I was handing it off to her, and she could kind of pick up where I left off. It was really a kind of passing the baton back and forth.”
The series is an adaptation of Georgia Hunter’s best-selling novel of her family’s fight to survive the Holocaust while living in Poland. Joey King stars as Halina, Hunter’s great aunt alongside Logan Lerman as Addy, Hunter’s grandfather. Other cast members include Sam Woolf,...
- 3/29/2024
- by Selena Kuznikov
- Variety Film + TV
The films in the running for the 2024 Best Original Score Oscar are “American Fiction,” “Indiana Jones and the Dial of Destiny,” “Killers of the Flower Moon,” “Oppenheimer,” and “Poor Things.” Our current odds indicate that “Oppenheimer” (3/1) will take the prize, followed in order of likelihood by “Killers of the Flower Moon” (4/1), “Poor Things” (9/2), “Indiana Jones” (9/2), and “American Fiction” (9/2).
Just two of the five musicians on this roster are returning contenders, with the first-timer subgroup consisting of Jerskin Fendrix (“Poor Things”), Laura Karpman (“American Fiction”), and Robbie Robertson (“Killers of the Flower Moon”). Robertson, who died last August at age 80, is this category’s eighth posthumous nominee and first since 1977, when Bernard Herrmann earned dual bids for “Obsession” and “Taxi Driver” nearly 14 months after his death. He would be the fourth deceased composer to win an Academy Award, following Victor Young and “Limelight” (1973) duo Raymond Rasch and Larry Russell.
Of the...
Just two of the five musicians on this roster are returning contenders, with the first-timer subgroup consisting of Jerskin Fendrix (“Poor Things”), Laura Karpman (“American Fiction”), and Robbie Robertson (“Killers of the Flower Moon”). Robertson, who died last August at age 80, is this category’s eighth posthumous nominee and first since 1977, when Bernard Herrmann earned dual bids for “Obsession” and “Taxi Driver” nearly 14 months after his death. He would be the fourth deceased composer to win an Academy Award, following Victor Young and “Limelight” (1973) duo Raymond Rasch and Larry Russell.
Of the...
- 3/7/2024
- by Matthew Stewart
- Gold Derby
Two songs from “Barbie” are Oscar-nominated, part of a diverse collection of songs and musical scores nominated for the 96th annual Academy Awards.
“What Was I Made For?” by Billie Eilish and Finneas O’Connell, and “I’m Just Ken,” by Mark Ronson and Andrew Wyatt, were chosen by the 390 voting members of the Academy music branch. Three “Barbie” songs were shortlisted (Dua Lipa’s “Dance the Night” being the third) but only two can be nominated, per Academy rules.
The “Barbie” songs are already considered frontrunners, and if either number prevails on March 10, the Oscar will go to a pair of songwriters who already have one of those golden statues. Siblings Eilish and O’Connell won for 2021’s James Bond film “No Time to Die,” while Ronson and Wyatt were two of four 2018 winners for Lady Gaga’s song “Shallow” from “A Star Is Born.”
They will compete against Jon Batiste...
“What Was I Made For?” by Billie Eilish and Finneas O’Connell, and “I’m Just Ken,” by Mark Ronson and Andrew Wyatt, were chosen by the 390 voting members of the Academy music branch. Three “Barbie” songs were shortlisted (Dua Lipa’s “Dance the Night” being the third) but only two can be nominated, per Academy rules.
The “Barbie” songs are already considered frontrunners, and if either number prevails on March 10, the Oscar will go to a pair of songwriters who already have one of those golden statues. Siblings Eilish and O’Connell won for 2021’s James Bond film “No Time to Die,” while Ronson and Wyatt were two of four 2018 winners for Lady Gaga’s song “Shallow” from “A Star Is Born.”
They will compete against Jon Batiste...
- 1/23/2024
- by Jon Burlingame
- Variety Film + TV
Fortress Talent Management, a leading agency for composers and music supervisors, has promoted Jake Kozarec to partner.
Kozarec has been with Fortress since 2016, and has overseen the careers of Lorne Balfe, Matthew Margeson, Jeff Cardoni (White House Plumbers), Keegan DeWitt, Jay Wadley, Robert Aiki Aubrey Lowe (Candyman), David Fleming and Alex Belcher.
Kozarec has played a key role in growing Fortress’ formidable roster, which includes Oscar-winners Howard Shore (Lord of the Rings), Gustavo Santaolalla (Brokeback Mountain), Mychael Danna (Life of Pi) and Rachel Portman (Chocolat) and Oscar nominees Nicholas Britell (Moonlight), Daniel Pemberton (Spiderman: Into the Spider-verse), Philip Glass (The Hours), Alberto Iglesias (Tinker Tailor Soldier Spy), Clint Mansell (The Fountain) and Owen Pallett (Her).
The company’s clients...
Kozarec has been with Fortress since 2016, and has overseen the careers of Lorne Balfe, Matthew Margeson, Jeff Cardoni (White House Plumbers), Keegan DeWitt, Jay Wadley, Robert Aiki Aubrey Lowe (Candyman), David Fleming and Alex Belcher.
Kozarec has played a key role in growing Fortress’ formidable roster, which includes Oscar-winners Howard Shore (Lord of the Rings), Gustavo Santaolalla (Brokeback Mountain), Mychael Danna (Life of Pi) and Rachel Portman (Chocolat) and Oscar nominees Nicholas Britell (Moonlight), Daniel Pemberton (Spiderman: Into the Spider-verse), Philip Glass (The Hours), Alberto Iglesias (Tinker Tailor Soldier Spy), Clint Mansell (The Fountain) and Owen Pallett (Her).
The company’s clients...
- 11/30/2023
- by Bruce Haring
- Deadline Film + TV
Multimedia Music has closed a deal to acquire the music publishing rights from the film music library of Millennium Media, which includes titles such as “The Hitman’s Bodyguard,” “London Has Fallen,” “Angel Has Fallen,” “Hitman Wife’s Bodyguard,” “Hellboy,” “The Outpost,” “Mechanic: Resurrection,” “Rambo: Last Blood,” “Blackbird,” “Acts of Vengeance” and “The Expendables 4.”
The deal follows Multimedia Music’s recent music partnership with Steven Spielberg’s Amblin Partners, and its acquisition of STX Entertainment’s music library.
The Millennium Media library includes music from leading composers including Brian Tyler, Atli Orvarsson, Mark Isham, Trevor Morris, David Buckley and Benjamin Wallfisch.
Multimedia Music will co-publish the catalog with current co-owner and administrator Kobalt Music.
James Gibb, who founded Multimedia Music with colleague Phil Hope, said: “Millennium Media consistently produces high caliber, commercial films made for the big screen that have earned over $2 billion at the box office. We are thrilled to have secured this catalog,...
The deal follows Multimedia Music’s recent music partnership with Steven Spielberg’s Amblin Partners, and its acquisition of STX Entertainment’s music library.
The Millennium Media library includes music from leading composers including Brian Tyler, Atli Orvarsson, Mark Isham, Trevor Morris, David Buckley and Benjamin Wallfisch.
Multimedia Music will co-publish the catalog with current co-owner and administrator Kobalt Music.
James Gibb, who founded Multimedia Music with colleague Phil Hope, said: “Millennium Media consistently produces high caliber, commercial films made for the big screen that have earned over $2 billion at the box office. We are thrilled to have secured this catalog,...
- 9/14/2023
- by Leo Barraclough
- Variety Film + TV
It’s a case of one score to rule them all, as Howard Shore’s stirring epic soundtrack for The Lord of the Rings trilogy was voted the U.K.’s favorite movie music.
Shore’s score for the Rings film, which has won three Academy Awards, three Golden Globes and four Grammys, came out ahead of some of the greatest and most recognizable soundtracks of all time, including John Williams’ music for Schindler’s List and Star Wars, which came second and third respectively.
The list of the top 100 film scores was compiled by popular U.K. radio station Classic FM, as part of their annual Movie Music Hall of Fame. More than 10,000 people voted for this year’s edition and the winner was revealed on Sunday by Jonathan Ross, the former presenter of the BBC’s Film program.
“Many thanks to all the Classic FM listeners,” Shore told...
Shore’s score for the Rings film, which has won three Academy Awards, three Golden Globes and four Grammys, came out ahead of some of the greatest and most recognizable soundtracks of all time, including John Williams’ music for Schindler’s List and Star Wars, which came second and third respectively.
The list of the top 100 film scores was compiled by popular U.K. radio station Classic FM, as part of their annual Movie Music Hall of Fame. More than 10,000 people voted for this year’s edition and the winner was revealed on Sunday by Jonathan Ross, the former presenter of the BBC’s Film program.
“Many thanks to all the Classic FM listeners,” Shore told...
- 8/29/2023
- by Abid Rahman
- The Hollywood Reporter - Movie News
Steven Spielberg’s Amblin Partners has sold a 50% stake in its catalog of music publishing and music master rights from the film music library to Multimedia Music, including marquee and award-winning films 1917, Green Book, The Bfg, Bridge of Spies, The Post, Office Christmas Party, Thank You For Your Service and The Girl on the Train and others. The catalog features iconic music from several of the most renowned and celebrated composers in the world including John Williams, Thomas Newman, Danny Elfman, Alexandre Desplat, Rachel Portman, Mark Isham and Rob Simonsen.
The music partnership will also see Mmm and Amblin pursue new initiatives to increase value by maximizing income collections and sourcing new uses for the catalog in commercials, trailers and television shows.
“We are proud to partner with Mmm and look forward to exploring new avenues to maximize the value of our extensive music catalogue alongside their fantastic team,...
The music partnership will also see Mmm and Amblin pursue new initiatives to increase value by maximizing income collections and sourcing new uses for the catalog in commercials, trailers and television shows.
“We are proud to partner with Mmm and look forward to exploring new avenues to maximize the value of our extensive music catalogue alongside their fantastic team,...
- 6/28/2023
- by Jill Goldsmith
- Deadline Film + TV
Composers including Howard Shore, Patrick Doyle and Daniel Pemberton have taken part.
The World Soundtrack Awards (Wsa), taking place annually at Film Fest Gent, is pairing 25 composers with 25 filmmakers for a short film project called 25 x 2 to celebrate the festival’s 50th anniversary.
Composers including Howard Shore, Patrick Doyle and Daniel Pemberton have composed a short piece of music (1-2 minutes) with many recorded by the Brussels Philharmonic orchestra. Filmmakers Including Terence Davies, Radu Jude, Paul Schrader, Naomi Kawase and Ildikó Enyedi are now creating shorts based on the scores.
The shorts will be presented at this year’s Film Fest Gent,...
The World Soundtrack Awards (Wsa), taking place annually at Film Fest Gent, is pairing 25 composers with 25 filmmakers for a short film project called 25 x 2 to celebrate the festival’s 50th anniversary.
Composers including Howard Shore, Patrick Doyle and Daniel Pemberton have composed a short piece of music (1-2 minutes) with many recorded by the Brussels Philharmonic orchestra. Filmmakers Including Terence Davies, Radu Jude, Paul Schrader, Naomi Kawase and Ildikó Enyedi are now creating shorts based on the scores.
The shorts will be presented at this year’s Film Fest Gent,...
- 5/21/2023
- by Orlando Parfitt
- ScreenDaily
Composers including Howard Shore, Patrick Doyle and Daniel Pemberton have taken part.
The World Soundtrack Awards (Wsa), taking place annually at Film Fest Gent, is pairing 25 composers with 25 filmmakers for a short film project called 25 x 2 to celebrate the festival’s 50th anniversary.
Composers including Howard Shore, Patrick Doyle and Daniel Pemberton have composed a short piece of music (1-2 minutes) with many recorded by the Brussels Philharmonic orchestra. Filmmakers Including Terence Davies, Radu Jude, Paul Schrader, Naomi Kawase and Ildikó Enyedi are now creating shorts based on the scores.
The shorts will be presented at this year’s Film Fest Gent,...
The World Soundtrack Awards (Wsa), taking place annually at Film Fest Gent, is pairing 25 composers with 25 filmmakers for a short film project called 25 x 2 to celebrate the festival’s 50th anniversary.
Composers including Howard Shore, Patrick Doyle and Daniel Pemberton have composed a short piece of music (1-2 minutes) with many recorded by the Brussels Philharmonic orchestra. Filmmakers Including Terence Davies, Radu Jude, Paul Schrader, Naomi Kawase and Ildikó Enyedi are now creating shorts based on the scores.
The shorts will be presented at this year’s Film Fest Gent,...
- 5/21/2023
- by Orlando Parfitt
- ScreenDaily
Composers including Howard Shore, Patrick Doyle and Daniel Pemberton have taken part.
The World Soundtrack Awards (Wsa), taking place annually at Film Fest Gent, is pairing 25 composers with 25 filmmakers for a short film project called 25 x 2 to celebrate the festival’s 50th anniversary.
Composers including Howard Shore, Patrick Doyle and Daniel Pemberton have composed a short piece of music (1-2 minutes) with many recorded by the Brussels Philharmonic orchestra. Filmmakers Including Terence Davies, Radu Jude, Paul Schrader, Naomi Kawase and Ildikó Enyedi are now creating shorts based on the scores.
The shorts will be presented at this year’s Film Fest Gent,...
The World Soundtrack Awards (Wsa), taking place annually at Film Fest Gent, is pairing 25 composers with 25 filmmakers for a short film project called 25 x 2 to celebrate the festival’s 50th anniversary.
Composers including Howard Shore, Patrick Doyle and Daniel Pemberton have composed a short piece of music (1-2 minutes) with many recorded by the Brussels Philharmonic orchestra. Filmmakers Including Terence Davies, Radu Jude, Paul Schrader, Naomi Kawase and Ildikó Enyedi are now creating shorts based on the scores.
The shorts will be presented at this year’s Film Fest Gent,...
- 5/21/2023
- by Orlando Parfitt
- ScreenDaily
Oscar-winning composer Rachel Portman picked up her Career Achievement Award at Zurich Film Festival on Thursday. She also gave another Golden Eye statuette to Robert IJserinkhuijsen, winner of the 10th International Film Music Competition. Portman was this year’s jury president.
“She is an exceptional composer, a fine storyteller. She paints feelings with sounds. With her, longing can sound mysterious and sadness can sound like hope,” said artistic director Christian Jungen, celebrating an inspiring career in an industry “long-dominated by men.”
“Her compositions are timeless, personal and yet universal,” he added.
“My primary concern is to write music that really, really fits the film. And serves the film. I always wish to write music that has integrity and I will endeavor to continue to do that,” Portman said.
The composer – who won her Oscar for Douglas McGrath’s “Emma” – will now turn her attention to Showtime miniseries “King Shaka,” executive produced by Antoine Fuqua.
“She is an exceptional composer, a fine storyteller. She paints feelings with sounds. With her, longing can sound mysterious and sadness can sound like hope,” said artistic director Christian Jungen, celebrating an inspiring career in an industry “long-dominated by men.”
“Her compositions are timeless, personal and yet universal,” he added.
“My primary concern is to write music that really, really fits the film. And serves the film. I always wish to write music that has integrity and I will endeavor to continue to do that,” Portman said.
The composer – who won her Oscar for Douglas McGrath’s “Emma” – will now turn her attention to Showtime miniseries “King Shaka,” executive produced by Antoine Fuqua.
- 10/1/2022
- by Marta Balaga
- Variety Film + TV
Composer Hildur Guðnadóttir is already in the history books after she won the best original score Oscar for “Joker” (2019). Now, she could break a new record with two bonafide awards contenders.
Todd Field’s “Tár,” a fictional psychological drama about one of the greatest living composers and conductors, has received critical acclaim after debuting at many of the fall film festivals. One of the highly praised elements was the incredible music featured in the film. However, in a movie about a composer, many casual cinema-goers were left wondering what was original or pre-purposed (unless you are an expert on musical compositions). Focus Features has confirmed to Variety exclusively that the film’s music by Guðnadóttir meets the requirement for Academy Awards and will be submitted for consideration.
Final determinations for eligibility are ultimately made by the Academy’s music branch. For a score to qualify, a film must feature music...
Todd Field’s “Tár,” a fictional psychological drama about one of the greatest living composers and conductors, has received critical acclaim after debuting at many of the fall film festivals. One of the highly praised elements was the incredible music featured in the film. However, in a movie about a composer, many casual cinema-goers were left wondering what was original or pre-purposed (unless you are an expert on musical compositions). Focus Features has confirmed to Variety exclusively that the film’s music by Guðnadóttir meets the requirement for Academy Awards and will be submitted for consideration.
Final determinations for eligibility are ultimately made by the Academy’s music branch. For a score to qualify, a film must feature music...
- 9/30/2022
- by Clayton Davis
- Variety Film + TV
40 years ago, Hugh Grant made his film debut in 1982’s “Privileged,” a little-seen effort about undergraduates at Oxford (where Grant studied English lit), which was funded by the Oxford University Film Foundation. In its July 14, 1982, review, Variety said the film — which also marked the bows of producer Andy Paterson, director Michael Hoffman, actors Imogen Stubbs and James Wilby and composer Rachel Portman — would have “limited interest” for most audiences but that the actor, billed as Hughie Grant, gives a convincing performance as an “aristocratic dropout.”
For the next five years, Grant did sketch comedy, played the classics onstage and worked in TV; his first mention in Variety was for the 1985 miniseries “Jenny’s War,” playing the Raf pilot son of Dyan Cannon.
He boosted his profile with the 1987 Merchant-Ivory film “Maurice,” adapted from E.M. Forster. The film also featuring his “Privileged” costar Wilby and the two shared the best-actor prize at the Venice Film Festival.
For the next five years, Grant did sketch comedy, played the classics onstage and worked in TV; his first mention in Variety was for the 1985 miniseries “Jenny’s War,” playing the Raf pilot son of Dyan Cannon.
He boosted his profile with the 1987 Merchant-Ivory film “Maurice,” adapted from E.M. Forster. The film also featuring his “Privileged” costar Wilby and the two shared the best-actor prize at the Venice Film Festival.
- 9/1/2022
- by Tim Gray
- Variety Film + TV
The film scores of the 1990s were as rich and varied as the films themselves, as the decade saw — well, heard — established masters peak (John Williams) or push themselves in new directions (Philip Glass), bold outsiders bring new genres into the narrow conversation of what movie music “should be”, and singular iconoclasts revolutionize how that music is recorded (remember the time when Neil Young just improvised the entire score for “Dead Man” by watching a rough cut in his studio?).
Women like Rachel Portman and Deborah Wiseman continued to make headway in a field from which they’ve long been excluded, while some of the most essential composers of the 21st century (Carter Burwell) began to hit their stride and point towards an even brighter future. Hell, even “Stop! Or My Mom Will Shoot” had Alan Silvestri going absolutely nuts over the soundtrack.
Here are our picks for the 25 best movie scores of the ’90s.
Women like Rachel Portman and Deborah Wiseman continued to make headway in a field from which they’ve long been excluded, while some of the most essential composers of the 21st century (Carter Burwell) began to hit their stride and point towards an even brighter future. Hell, even “Stop! Or My Mom Will Shoot” had Alan Silvestri going absolutely nuts over the soundtrack.
Here are our picks for the 25 best movie scores of the ’90s.
- 8/16/2022
- by David Ehrlich, Christian Blauvelt and Leila Latif
- Indiewire
While discrimination in the workforce is improving for women and people of color, there’s still lots of work to be done. Take for example the world of film composers, a field that’s been dominated by men for years, with a few notable exceptions like Rachel Portman, Anne Dudley, Jocelyn Pook, and Lesley Barber. It’s only been in recent years that names like Hildur Guðnadóttir—the first woman to win an Academy Award for a film score since 1997—and Pinar Toprak—the first woman to score a Marvel movie in 2019, after 21 previous films scored by men—are becoming more established.
Continue reading ‘Loki’s Natalie Holt Will Score The ‘Kenobi’ Series, But John Williams Is Returning To Write Obi-Wan’s Theme at The Playlist.
Continue reading ‘Loki’s Natalie Holt Will Score The ‘Kenobi’ Series, But John Williams Is Returning To Write Obi-Wan’s Theme at The Playlist.
- 4/22/2022
- by Andrea Thompson
- The Playlist
The films in the running for the 2022 Best Original Score Oscar are “Don’t Look Up,” “Dune,” “Encanto,” “Parallel Mothers,” and “The Power of the Dog.” Our current odds indicate that “Dune” (16/5) will take the prize, followed in order of likelihood by “The Power of the Dog” (19/5), “Encanto” (9/2), “Don’t Look Up” (9/2), and “Parallel Mothers” (9/2).
Four of this year’s five composers are previous nominees, with Hans Zimmer standing out from the rest with a dozen bids to his name, the first of which was for “Rain Man” (1989). He triumphed on his second outing for “The Lion King” (1995) and has since earned notices for “The Preacher’s Wife” (1997), “As Good as It Gets” (1998), “The Prince of Egypt” (1999), “The Thin Red Line” (1999), “Gladiator” (2001), “Sherlock Holmes” (2010), “Inception” (2011), “Interstellar” (2015), and “Dunkirk” (2018).
Alberto Iglesias’s bid for “Parallel Mothers” is his fourth in this category. He was first recognized for “The Constant Gardener” (2006) and then for “The Kite Runner...
Four of this year’s five composers are previous nominees, with Hans Zimmer standing out from the rest with a dozen bids to his name, the first of which was for “Rain Man” (1989). He triumphed on his second outing for “The Lion King” (1995) and has since earned notices for “The Preacher’s Wife” (1997), “As Good as It Gets” (1998), “The Prince of Egypt” (1999), “The Thin Red Line” (1999), “Gladiator” (2001), “Sherlock Holmes” (2010), “Inception” (2011), “Interstellar” (2015), and “Dunkirk” (2018).
Alberto Iglesias’s bid for “Parallel Mothers” is his fourth in this category. He was first recognized for “The Constant Gardener” (2006) and then for “The Kite Runner...
- 3/24/2022
- by Matthew Stewart
- Gold Derby
The Society of Composers & Lyricists announced the winners of its 3rd Annual Scl Awards this evening at The Skirball Cultural Center. The event, which was hosted by rapper Aloe Blacc, recognizes composers and songwriters in all visual media.
Oscar-nominated siblings Billie Eilish and Finneas O’Connell accepted their award virtually for Outstanding Original Song for a Drama/Documentary for the theme from No Time To Die.
Outstanding Original Song for a Musical/Comedy went to “Just Look up”, co-written by Nicholas Britell, Taura Stinson, Ariana Grande and Scott “Kid Cudi” Mescudi, from Adam McKay’s Don’t Look Up.
Germaine Franco, also nominated for an Oscar this year and the first woman to score an animated feature film for Disney, won in the category of Outstanding Original Score for a Studio film for Encanto, while Daniel Hart was awarded in the Outstanding Original Score for an Independent Film category for A24’s The Green Knight.
Oscar-nominated siblings Billie Eilish and Finneas O’Connell accepted their award virtually for Outstanding Original Song for a Drama/Documentary for the theme from No Time To Die.
Outstanding Original Song for a Musical/Comedy went to “Just Look up”, co-written by Nicholas Britell, Taura Stinson, Ariana Grande and Scott “Kid Cudi” Mescudi, from Adam McKay’s Don’t Look Up.
Germaine Franco, also nominated for an Oscar this year and the first woman to score an animated feature film for Disney, won in the category of Outstanding Original Score for a Studio film for Encanto, while Daniel Hart was awarded in the Outstanding Original Score for an Independent Film category for A24’s The Green Knight.
- 3/9/2022
- by Tom Tapp
- Deadline Film + TV
The Alliance for Women Film Composers (Awfc) has released a statement condemning the Academy of Motion Picture Arts and Sciences’ decision to not broadcast the best original score category live during this year’s Oscar ceremony.
The Academy first confirmed its decision to present several Oscar categories outside of the live March 27 telecast on Tuesday, via a letter from president David Rubin that was sent to Academy membership. The letter explained that these awards will instead be given out an hour prior to the on-camera ceremony, with clips from the speeches being incorporated into the telecast. The other categories aside from score that won’t be awarded live this year are documentary short, animated short, live action short, film editing, makeup and hairstyling, production design and sound. The move generated instant controversy among industry veterans, with the American Cinema Editors guild issuing a public statement condemning the decision.
Awfc’s statement,...
The Academy first confirmed its decision to present several Oscar categories outside of the live March 27 telecast on Tuesday, via a letter from president David Rubin that was sent to Academy membership. The letter explained that these awards will instead be given out an hour prior to the on-camera ceremony, with clips from the speeches being incorporated into the telecast. The other categories aside from score that won’t be awarded live this year are documentary short, animated short, live action short, film editing, makeup and hairstyling, production design and sound. The move generated instant controversy among industry veterans, with the American Cinema Editors guild issuing a public statement condemning the decision.
Awfc’s statement,...
- 2/27/2022
- by Wilson Chapman
- Variety Film + TV
2Nd Update, 6:00 Pm: The Society of Composers & Lyricists has rescheduled its Covid-delayed third annual Scl Awards for Tuesday, March 8, at the Skirball Cultural Center in L.A.
“After much deliberation, we have also decided to extend out final voting period,” the group said this evening. “This will allow our many mem bers who have been impacted by the surge in Covid-19 additional time to review all the nominees’ excellent work.” The voting period now will begin Monday and run through February 25.
See the list of nominations below.
Updated, 4:30 Pm: The Society of Composers & Lyricists has postponed its third annual Scl Awards amid the surge in Covid cases tied to the Omicron variant. No new date was set for the ceremony that had been set for February 1 at the Skirball Cultural Center in Los Angeles.
Here is the statement from the group’s president, Ashley Irwin:
Upon...
“After much deliberation, we have also decided to extend out final voting period,” the group said this evening. “This will allow our many mem bers who have been impacted by the surge in Covid-19 additional time to review all the nominees’ excellent work.” The voting period now will begin Monday and run through February 25.
See the list of nominations below.
Updated, 4:30 Pm: The Society of Composers & Lyricists has postponed its third annual Scl Awards amid the surge in Covid cases tied to the Omicron variant. No new date was set for the ceremony that had been set for February 1 at the Skirball Cultural Center in Los Angeles.
Here is the statement from the group’s president, Ashley Irwin:
Upon...
- 1/14/2022
- by Erik Pedersen
- Deadline Film + TV
The Society of Composers & Lyricists have announced the full list of Scl Awards’ nominees, to be presented the 3rd Annual Scl Awards for score and songs in visual media on February 1st at the Skirball Cultural Center (Covid permitting). Awards are presented in seven competitive categories: Outstanding Original Score for a Studio Film, Outstanding Original Score for an Independent Film, Outstanding Original Score for a Television Production, Outstanding Original Song for a Dramatic or Documentary Visual Media Production, Outstanding Original Song for a Comedy or Musical Visual Media Production, Outstanding Original Score for Interactive Media, and the David Raksin Award for Emerging Talent.
The evening hosted by Darren Criss will include musical performances from Grammy-nominated singers/songwriters of Bridgerton: The Unofficial Musical Abigail Barlow and Emily Bear, Grammy winner Judith Hill, and more. A musical tribute will accompany the spirit of collaboration award.
Full list of nominees below:
Outstanding...
The evening hosted by Darren Criss will include musical performances from Grammy-nominated singers/songwriters of Bridgerton: The Unofficial Musical Abigail Barlow and Emily Bear, Grammy winner Judith Hill, and more. A musical tribute will accompany the spirit of collaboration award.
Full list of nominees below:
Outstanding...
- 1/4/2022
- by Michelle Hannett
- WeAreMovieGeeks.com
Nicholas Britell has a leading three nominations from the Society of Composers & Lyricists Awards, with Tuesday’s announcement of this year’s nominees for music in visual media finding Britell in contention for both song and score for his work on Adam McKay’s satire “Don’t Look Up,” as well as a nom for TV score for “Succession.”
The Scl’s third annual awards program is slated for Feb. 1 at the Skirball Cultural Center in Los Angeles.
Women composers and songwriters had a surprisingly strong showing this year. Fifteen of the 35 individuals nominated, or nearly 43% of the total, are female. They are nominees in all six competitive categories, and took all three slots for the newly established David Raksin Award for emerging talent.
Four contenders received two nominations each: Jonny Greenwood, Kid Cudi (songs in “Don’t Look Up” and “The Harder They Fall”), Germaine Franco (scores for “Encanto” and the...
The Scl’s third annual awards program is slated for Feb. 1 at the Skirball Cultural Center in Los Angeles.
Women composers and songwriters had a surprisingly strong showing this year. Fifteen of the 35 individuals nominated, or nearly 43% of the total, are female. They are nominees in all six competitive categories, and took all three slots for the newly established David Raksin Award for emerging talent.
Four contenders received two nominations each: Jonny Greenwood, Kid Cudi (songs in “Don’t Look Up” and “The Harder They Fall”), Germaine Franco (scores for “Encanto” and the...
- 1/4/2022
- by Jon Burlingame
- Variety Film + TV
Nicholas Britell led all composers with three nominations for the third annual Society of Composers and Lyricists’ Scl Awards, the organization announced on Tuesday.
Britell was nominated for his scores to the film “Don’t Look Up” and the television series “Succession,” as well as for co-writing the song “Just Look Up” from “Don’t Look Up.”
Other composers or songwriters with multiple nominations in the seven categories were Germaine Franco, nominated for her scores to “Encanto” and “Kung Fu Panda: Land of Awesomeness”; Jonny Greenwood, nominated for “The Power of the Dog” and “Spencer”; Scott “Kid Cudi” Mescudi, nominated for songs from “Don’t Look Up” and “The Harder They Fall”; and Diane Warren, nominated for songs from “Four Good Days” and “The Mustangs.”
Nominees in the Studio Film category were Britell, Franco, Greenwood, Alexandre Desplat for “The French Dispatch” and Hans Zimmer for “Dune.” In the Independent Film category, Greenwood was...
Britell was nominated for his scores to the film “Don’t Look Up” and the television series “Succession,” as well as for co-writing the song “Just Look Up” from “Don’t Look Up.”
Other composers or songwriters with multiple nominations in the seven categories were Germaine Franco, nominated for her scores to “Encanto” and “Kung Fu Panda: Land of Awesomeness”; Jonny Greenwood, nominated for “The Power of the Dog” and “Spencer”; Scott “Kid Cudi” Mescudi, nominated for songs from “Don’t Look Up” and “The Harder They Fall”; and Diane Warren, nominated for songs from “Four Good Days” and “The Mustangs.”
Nominees in the Studio Film category were Britell, Franco, Greenwood, Alexandre Desplat for “The French Dispatch” and Hans Zimmer for “Dune.” In the Independent Film category, Greenwood was...
- 1/4/2022
- by Steve Pond
- The Wrap
It’s time to have a serious conversation about “Spider-Man: No Way Home” and what it can achieve at the Oscars this year.
Looking at the Oscars shortlists announced on Tuesday, the third chapter in the Tom Holland universe showed up in two categories — sound and visual effects — despite its late release.
Unlike most superhero pics, critical and audience opinion are aligned about the film. “No Way Home” also joined an elite club of only 91 movies to ever earn an A+ CinemaScore, and became the fourth live-action superhero movie to do so, after “The Avengers” (2012), “Black Panther” (2018) and “Avengers: Endgame” (2019).
I’ve never been a pundit who believes in “follow the money” to predict best picture nominees. But, especially in these last two years amid the pandemic, box office “failures” (whatever that means now) are even less of a hindrance for awards campaigns. Still, as exhibited by our favorite web-slinger,...
Looking at the Oscars shortlists announced on Tuesday, the third chapter in the Tom Holland universe showed up in two categories — sound and visual effects — despite its late release.
Unlike most superhero pics, critical and audience opinion are aligned about the film. “No Way Home” also joined an elite club of only 91 movies to ever earn an A+ CinemaScore, and became the fourth live-action superhero movie to do so, after “The Avengers” (2012), “Black Panther” (2018) and “Avengers: Endgame” (2019).
I’ve never been a pundit who believes in “follow the money” to predict best picture nominees. But, especially in these last two years amid the pandemic, box office “failures” (whatever that means now) are even less of a hindrance for awards campaigns. Still, as exhibited by our favorite web-slinger,...
- 12/23/2021
- by Clayton Davis
- Variety Film + TV
Honors were given out in more than 30 categories at Wednesday’s 12th annual Hollywood Music in Media Awards, with singer-songwriters like Billie Eilish, H.E.R., Adam Levine and Rufus Wainwright being celebrated in the live webcast as well as composers including Hans Zimmer, Rachel Portman, Alberto Iglesias and Nicholas Britell.
The HMMAs reward songwriters, composers and even performers in fields that include not just film and TV work but everything from video games to commercials to theme park music.
Film nominations are given in multiple genres, which allows for a series of short lists that members of the Academy’s music branch may end up studying as they vote for the Oscars’ much, much shorter lists.
Best score for a feature film went to Britell for his work on Adam McKay’s satirical “Don’t Look Up.” Other score prizes went to Zimmer for “Dune” (sci-fi/fantasy film), Beltrami for “A Quiet Place II...
The HMMAs reward songwriters, composers and even performers in fields that include not just film and TV work but everything from video games to commercials to theme park music.
Film nominations are given in multiple genres, which allows for a series of short lists that members of the Academy’s music branch may end up studying as they vote for the Oscars’ much, much shorter lists.
Best score for a feature film went to Britell for his work on Adam McKay’s satirical “Don’t Look Up.” Other score prizes went to Zimmer for “Dune” (sci-fi/fantasy film), Beltrami for “A Quiet Place II...
- 11/19/2021
- by Chris Willman
- Variety Film + TV
Jonas Poher Rasmussen’s singular animated doc Flee and Ahmir “Questlove” Thompson’s Sundance Grand Jury Prize winner Summer of Soul will head into the 15th annual Cinema Eye Honors as the leaders in nominations, Cinema Eye announced today.
Flee led all films with seven nominations, with Summer of Soul claiming six. Jessica Kingdon’s Ascension, Jessica Beshir’s Faya Dayi and E. Chai Vasarhelyi and Jimmy Chin’s The Rescue followed with five noms apiece, with Todd Haynes’ Apple pic The Velvet Underground claiming four. HBO led all distributors with 16 nominations, with Hulu notching 12. Nat Geo and Neon followed with 11 each.
Of particular note with regard to the noms list was a newly introduced category for Outstanding Sound Design, which will see All Light, Everywhere contending alongside Faya Dayi, Flee, Summer of Soul and The Velvet Underground.
The award ceremony recognizing...
Flee led all films with seven nominations, with Summer of Soul claiming six. Jessica Kingdon’s Ascension, Jessica Beshir’s Faya Dayi and E. Chai Vasarhelyi and Jimmy Chin’s The Rescue followed with five noms apiece, with Todd Haynes’ Apple pic The Velvet Underground claiming four. HBO led all distributors with 16 nominations, with Hulu notching 12. Nat Geo and Neon followed with 11 each.
Of particular note with regard to the noms list was a newly introduced category for Outstanding Sound Design, which will see All Light, Everywhere contending alongside Faya Dayi, Flee, Summer of Soul and The Velvet Underground.
The award ceremony recognizing...
- 11/10/2021
- by Matt Grobar
- Deadline Film + TV
Best original song Oscar contenders Beyoncé and Van Morrison are among those who received nominations in the visual media categories at the Hollywood Music in Media Awards (Hmma). Composers Hans Zimmer and Nicholas Britell were included among the familiar names picking up nods in the score categories.
The awards will be presented Nov. 17. The HMMAs honor composers, songwriters, and music supervisors for their work in music for film, television, and videogames.
Nominations here have historically been a harbinger or guide for what nominees and winners will pop up in the Golden Globes, Oscars, Grammys and Emmys that occur later in awards season, although there is a much wider field in the HMMAs, since there are separate divisions for sci-fi, animation, documentary and independent films in the score categories. The Hollywood Music in Media Awards will feature music performances, celebrity presenters, tributes to music industry icons, awards for composers, songwriters and...
The awards will be presented Nov. 17. The HMMAs honor composers, songwriters, and music supervisors for their work in music for film, television, and videogames.
Nominations here have historically been a harbinger or guide for what nominees and winners will pop up in the Golden Globes, Oscars, Grammys and Emmys that occur later in awards season, although there is a much wider field in the HMMAs, since there are separate divisions for sci-fi, animation, documentary and independent films in the score categories. The Hollywood Music in Media Awards will feature music performances, celebrity presenters, tributes to music industry icons, awards for composers, songwriters and...
- 11/4/2021
- by Jazz Tangcay
- Variety Film + TV
As a chef, Julia Child made no claims for herself as an innovator: Her mission was not to create new recipes, but to interpret and archive age-old French ones in ways the average American home cook could tackle without fear. Given her dual priorities of traditionalism and accessibility, then, she might well have appreciated “Julia,” a bright, cheerful, audience-friendly overview of Child’s life and legacy that steers fastidiously clear of any unexpected insight or information on a well-documented subject.
Docmaking duo Julie Cohen and Betsy West previously scored an Oscar nomination for “Rbg,” a similarly upbeat, uncomplicated portrait of another iconic American woman, and — save for the addition of much butter-varnished gastroporn photography — they haven’t significantly changed the recipe here. There’s nothing especially wrong with that: Child was a broadly entertaining public personality, and the film is broadly entertaining in turn, zipping through her eventful, rather inspiring...
Docmaking duo Julie Cohen and Betsy West previously scored an Oscar nomination for “Rbg,” a similarly upbeat, uncomplicated portrait of another iconic American woman, and — save for the addition of much butter-varnished gastroporn photography — they haven’t significantly changed the recipe here. There’s nothing especially wrong with that: Child was a broadly entertaining public personality, and the film is broadly entertaining in turn, zipping through her eventful, rather inspiring...
- 9/3/2021
- by Guy Lodge
- Variety Film + TV
In “Godmothered,” a young fairy-godmother-in-training travels to the modern human world to save her fairy-tale existence. If that plot reminds you of “Enchanted,” then that’s clearly what the folks at Disney+ had in mind, down to the casting of Isla Fisher; Fisher is a talented actress in her own right, but at least as far back as “Nocturnal Animals,” she also seems to be in on the joke that Hollywood thinks of her as The Other Amy Adams.
For the most part, “Godmothered” is a mixed-bag of clever comedy and banal kid-movie clichés, but director Sharon Maguire (“Bridget Jones’ Baby”) and writers Kari Granlund (2019’s “Lady and the Tramp”) and Melissa Stack (“The Other Woman”) craft an ending that’s so emotionally and intellectually satisfying that it’s easy to forgive the film’s less magical attributes.
It’s the story of Eleanor (Jillian Bell), the youngest and most...
For the most part, “Godmothered” is a mixed-bag of clever comedy and banal kid-movie clichés, but director Sharon Maguire (“Bridget Jones’ Baby”) and writers Kari Granlund (2019’s “Lady and the Tramp”) and Melissa Stack (“The Other Woman”) craft an ending that’s so emotionally and intellectually satisfying that it’s easy to forgive the film’s less magical attributes.
It’s the story of Eleanor (Jillian Bell), the youngest and most...
- 12/2/2020
- by Alonso Duralde
- The Wrap
When Anya Taylor-Joy’s “Emma” sauntered on to our cinema screens earlier this year, it wasn’t the first time audiences experienced the story of Jane Austen’s meddling heroine. Gwyneth Paltrow previously embodied the role in a 1996 film version. That original incarnation had a decent reception at the Oscars, but the 2020 update is poised to perform even better.
The 2020 adaptation from Focus Features has one major factor boosting its chances. The film debuted in theaters on February 20, 2020. That was just a couple weeks before the coronavirus pandemic shuttered movie houses around the country. “Emma” was indeed the last film I saw in theaters, and I imagine the same is true for many industry professionals. In a chaotic year where films either had to postpone a theatrical run or head straight to video-on-demand, “Emma” will likely stick out in voters’ memories as one of their final movie theater experiences of...
The 2020 adaptation from Focus Features has one major factor boosting its chances. The film debuted in theaters on February 20, 2020. That was just a couple weeks before the coronavirus pandemic shuttered movie houses around the country. “Emma” was indeed the last film I saw in theaters, and I imagine the same is true for many industry professionals. In a chaotic year where films either had to postpone a theatrical run or head straight to video-on-demand, “Emma” will likely stick out in voters’ memories as one of their final movie theater experiences of...
- 11/27/2020
- by Sam Eckmann
- Gold Derby
In his latest podcast/interview, host and screenwriter Stuart Wright talks to film composer Sacha Puttnam about his new music project which is out now: Spirit of Cinema: Sacha Puttnam with the Classic Film Orchestra.
Tracklisting: Love’s Theme
Original score by Giorgio Moroder for Midnight Express, 1978. Best Original score at the Oscars, 1979 First of May
Music by The Bee Gees for the film Melody, 1971 Chariots of Fire
Original score by Vangelis for the film Chariots of Fire, 1981. Best original score at The Oscars, 1982 Sailing Homeward
Music by Donovan for the film The Pied Piper, 1972 Gabriel’s Theme
Original score by Ennio Morricone for The Mission, 1986. Best Original Score at The Golden Globes and Best Music at The Baftas, 1986 Theme From Midnight Express (Istanbul)
Original score by Giorgio Moroder for Midnight Express, 1978. Best Original score at the Oscars, 1979 War of the Buttons Suite
Original score By Rachel Portman, from the film War of the Buttons,...
Tracklisting: Love’s Theme
Original score by Giorgio Moroder for Midnight Express, 1978. Best Original score at the Oscars, 1979 First of May
Music by The Bee Gees for the film Melody, 1971 Chariots of Fire
Original score by Vangelis for the film Chariots of Fire, 1981. Best original score at The Oscars, 1982 Sailing Homeward
Music by Donovan for the film The Pied Piper, 1972 Gabriel’s Theme
Original score by Ennio Morricone for The Mission, 1986. Best Original Score at The Golden Globes and Best Music at The Baftas, 1986 Theme From Midnight Express (Istanbul)
Original score by Giorgio Moroder for Midnight Express, 1978. Best Original score at the Oscars, 1979 War of the Buttons Suite
Original score By Rachel Portman, from the film War of the Buttons,...
- 11/24/2020
- by Stuart Wright
- Nerdly
In a year that presents the opportunity for new and diverse voices in the awards race, another one has been added to the mix for best original score. Variety has learned exclusively that neo-classical composer Amelia Warner will helm the music for John Patrick Shanley’s “Wild Mountain Thyme” starring Emily Blunt and Jamie Dornan.
Best known for her work on Haifaa al-Mansour’s “Mary Shelley” in 2018, Warner has dabbled both in music and acting. With roles in “Quills,” “Aeon Flux” and “Winter Passing,” this film marks just her third film composition. Warner was named the breakthrough composer of the year at the 2019 International Film Music Critics Awards.
While the awards season could present a record-breaking number of women nominated in categories like best picture and director, the race for best original score is very limited for female composers. Warner hopes to break through the male-heavy list of contenders that...
Best known for her work on Haifaa al-Mansour’s “Mary Shelley” in 2018, Warner has dabbled both in music and acting. With roles in “Quills,” “Aeon Flux” and “Winter Passing,” this film marks just her third film composition. Warner was named the breakthrough composer of the year at the 2019 International Film Music Critics Awards.
While the awards season could present a record-breaking number of women nominated in categories like best picture and director, the race for best original score is very limited for female composers. Warner hopes to break through the male-heavy list of contenders that...
- 10/22/2020
- by Clayton Davis
- Variety Film + TV
Director Wayne Wang made his name with films like “The Joy Luck Club,” “Eat a Bowl of Tea” and “Smoke,” intimate works in which he showed his adeptness at detailing the small rituals of life (particularly those having to do with food) and at creating a strong sense of place. “Coming Home Again,” which opens in theaters and virtual cinemas on Friday, does both of those things, and it’s one of the quietest and most restrained movies ever made by a director who’s never been one for overstatement.
An elegant chamber piece that deals with big issues – life, death, family, guilt, grief – in a beautifully austere way, “Coming Home Again” rarely raises its voice, but it cuts deeply.
At first, it is a film of vignettes: a man (played by Justin Chon) prepares food and talks about his mother’s cooking advice; he runs up a hill in San Francisco,...
An elegant chamber piece that deals with big issues – life, death, family, guilt, grief – in a beautifully austere way, “Coming Home Again” rarely raises its voice, but it cuts deeply.
At first, it is a film of vignettes: a man (played by Justin Chon) prepares food and talks about his mother’s cooking advice; he runs up a hill in San Francisco,...
- 10/21/2020
- by Steve Pond
- The Wrap
English composer Rachel Portman today releases her first solo album. Titled “Ask the River,” it’s a collection of original pieces for piano, violin and cello that reflect her feelings about our fragile environment.
That the release happens to come in the middle of a global pandemic is coincidental, but it also couldn’t be more timely. Portman’s music conjures up images of a pastoral English countryside: warm and breezy, cool and contemplative, green fields and babbling brooks.
“I had spent a lot of time immersed in nature, and I wanted to try and express that,” she says from her country home 50 miles outside of London, “and express the beauty of what I see as many, many different aspects of nature around us. We’re increasingly unconnected to the natural world. We don’t seem to be part of the land; we seem to use it as a resource instead.
That the release happens to come in the middle of a global pandemic is coincidental, but it also couldn’t be more timely. Portman’s music conjures up images of a pastoral English countryside: warm and breezy, cool and contemplative, green fields and babbling brooks.
“I had spent a lot of time immersed in nature, and I wanted to try and express that,” she says from her country home 50 miles outside of London, “and express the beauty of what I see as many, many different aspects of nature around us. We’re increasingly unconnected to the natural world. We don’t seem to be part of the land; we seem to use it as a resource instead.
- 5/8/2020
- by Jon Burlingame
- Variety Film + TV
Cutting Edge Group, a leading music financier and services provider for film, TV and advertising, has acquired Lakeshore Records, a top independent soundtrack label.
Their partnership will provide Cutting Edge with an in-house label, while Lakeshore will continue to operate as an independent, doing albums for such high-profile projects as “Marriage Story,” “Moonlight,” “Stranger Things” and “Narcos.”
Cutting Edge COO Tara Finegan cites Lakeshore’s “intensity and passion and desire to get things absolutely right for the fans of soundtrack music, and for the composers and filmmakers who are on the other side, creating this art.”
Says Lakeshore Records President Brian McNelis: “The combining of Cutting Edge and Lakeshore is an extension of the business that we had already been in. We had a working relationship and they were looking to complement their other services.” Lakeshore had been licensing albums from Cutting Edge as far back as 2005, and in...
Their partnership will provide Cutting Edge with an in-house label, while Lakeshore will continue to operate as an independent, doing albums for such high-profile projects as “Marriage Story,” “Moonlight,” “Stranger Things” and “Narcos.”
Cutting Edge COO Tara Finegan cites Lakeshore’s “intensity and passion and desire to get things absolutely right for the fans of soundtrack music, and for the composers and filmmakers who are on the other side, creating this art.”
Says Lakeshore Records President Brian McNelis: “The combining of Cutting Edge and Lakeshore is an extension of the business that we had already been in. We had a working relationship and they were looking to complement their other services.” Lakeshore had been licensing albums from Cutting Edge as far back as 2005, and in...
- 2/24/2020
- by Jon Burlingame
- Variety Film + TV
Autumn de Wilde’s adaptation ramps up the comedy, but Anya Taylor-Joy remains wonderfully edgy as Jane Austen’s meddling heroine
With its heady mix of social satire, romantic intrigue and endlessly reinterpretable gender politics, Jane Austen’s 1815 novel Emma has long proved catnip for film-makers. The 2009 TV miniseries starring Romola Garai followed a string of small-screen productions, dating back to such offerings as a 1948 BBC “telefilm” with Judy Campbell. Recent big-screen adaptations have ranged from Douglas McGrath’s 1996 hit featuring Gwyneth Paltrow (for which composer Rachel Portman won an Oscar) to the 2010 Hindi-language romcom Aisha with Sonam Kapoor. For many, however, Amy Heckerling’s 1995 “queen bee” treat Clueless remains a favourite, astutely transposing the British riffs of Austen’s source to the modern milieu of an American high school.
This latest colourful incarnation boasts the remarkable Anya Taylor-Joy as Austen’s “handsome, clever and rich” heroine Emma Woodhouse, spoilt...
With its heady mix of social satire, romantic intrigue and endlessly reinterpretable gender politics, Jane Austen’s 1815 novel Emma has long proved catnip for film-makers. The 2009 TV miniseries starring Romola Garai followed a string of small-screen productions, dating back to such offerings as a 1948 BBC “telefilm” with Judy Campbell. Recent big-screen adaptations have ranged from Douglas McGrath’s 1996 hit featuring Gwyneth Paltrow (for which composer Rachel Portman won an Oscar) to the 2010 Hindi-language romcom Aisha with Sonam Kapoor. For many, however, Amy Heckerling’s 1995 “queen bee” treat Clueless remains a favourite, astutely transposing the British riffs of Austen’s source to the modern milieu of an American high school.
This latest colourful incarnation boasts the remarkable Anya Taylor-Joy as Austen’s “handsome, clever and rich” heroine Emma Woodhouse, spoilt...
- 2/16/2020
- by Mark Kermode
- The Guardian - Film News
Composer Hildur Guðnadóttir’s Sunday night Oscar win completed her clean sweep of top show-biz awards over the past five months.
The Icelandic-born, Berlin-based cellist-composer won for her dark and disturbing “Joker” score. She also won the BAFTA on Feb. 2, the Critics Choice award on Jan. 12, the inaugural Society of Composers & Lyricists award Jan. 7, and the Golden Globe on Jan. 5, all for “Joker.”
She preceded those with an Emmy for the HBO miniseries “Chernobyl” on Sept. 15 and a Grammy for the soundtrack of that score on Jan. 26.
“It’s been overwhelming at times, I’m not going to lie,” she told Scl Oscar reception attendees on Saturday, just hours before her Academy Award victory.
Such a sweep may be unprecedented for a film and television composer. Michael Giacchino appears to come the closest, with an Oscar, Grammy, BAFTA and Critics Choice award for “Up” all in less than two months...
The Icelandic-born, Berlin-based cellist-composer won for her dark and disturbing “Joker” score. She also won the BAFTA on Feb. 2, the Critics Choice award on Jan. 12, the inaugural Society of Composers & Lyricists award Jan. 7, and the Golden Globe on Jan. 5, all for “Joker.”
She preceded those with an Emmy for the HBO miniseries “Chernobyl” on Sept. 15 and a Grammy for the soundtrack of that score on Jan. 26.
“It’s been overwhelming at times, I’m not going to lie,” she told Scl Oscar reception attendees on Saturday, just hours before her Academy Award victory.
Such a sweep may be unprecedented for a film and television composer. Michael Giacchino appears to come the closest, with an Oscar, Grammy, BAFTA and Critics Choice award for “Up” all in less than two months...
- 2/11/2020
- by Jon Burlingame
- Variety Film + TV
After becoming the first solo female composer to win a Golden Globe for original score, Iceland native Hildur Guonadottir became the third solo woman to ever win an Oscar in the category, thanks to her haunting music for “Joker” — a gender-related feat that was 22 years in the making. She also is just the ninth female ever nominated for Best Musical Score, earning one of the 11 bids – the most for any 2019 release — for the comic-book-inspired drama starring Joaquin Phoenix.
The first female to compete for a musical score Academy Award was Angela Morley, who collaborated with Douglas Gamley to adapt Alan Jay Lerner and Frederick Loewe‘s music for 1974’s “The Little Prince.” She would get a second chance with the Sherman Brothers with her adapted score for 1977’s “The Slipper and the Rose.” Marilyn Bergman would become the first-ever female winner in 1983 along with husband Alan Bergman and Michel Legrand,...
The first female to compete for a musical score Academy Award was Angela Morley, who collaborated with Douglas Gamley to adapt Alan Jay Lerner and Frederick Loewe‘s music for 1974’s “The Little Prince.” She would get a second chance with the Sherman Brothers with her adapted score for 1977’s “The Slipper and the Rose.” Marilyn Bergman would become the first-ever female winner in 1983 along with husband Alan Bergman and Michel Legrand,...
- 2/10/2020
- by Susan Wloszczyna
- Gold Derby
Hildur Guðnadóttir became only the fourth woman to win an Academy Award for a film score, and the first since 1997, as she walked away with honors for her “Joker” music Sunday night.
“To the girls, to the women, to the mothers, to the daughters, who hear the music bubbling within, please speak up. We need to hear your voices,” she said in accepting the award.
Iceland-born, Berlin-based Guðnadóttir represents a rare case of a composer being brought in before shooting to provide original music. She composed a theme for Joaquin Phoenix’s Joker character after reading the script, and the actor danced to the sound of her electro-acoustic cello on-set.
Backstage, Guðnadóttir said to write her music, she tries to picture what the character is going through. In the case of Phoenix’s “Joker,” he was “a man who was going through this excruciating journey,” she said. “I tried to...
“To the girls, to the women, to the mothers, to the daughters, who hear the music bubbling within, please speak up. We need to hear your voices,” she said in accepting the award.
Iceland-born, Berlin-based Guðnadóttir represents a rare case of a composer being brought in before shooting to provide original music. She composed a theme for Joaquin Phoenix’s Joker character after reading the script, and the actor danced to the sound of her electro-acoustic cello on-set.
Backstage, Guðnadóttir said to write her music, she tries to picture what the character is going through. In the case of Phoenix’s “Joker,” he was “a man who was going through this excruciating journey,” she said. “I tried to...
- 2/10/2020
- by Chris Willman and Kate Aurthur
- Variety Film + TV
Seriously, someone get Hildur Guðnadóttir a Broadway musical Asap. The “Joker” composer won the Best Original Score Oscar on Sunday, which means she’s checked off three-fourths of the Egot in five months and is just missing that darn Tony.
Guðnadóttir, who already netted the Golden Globe, Critics’ Choice and BAFTA for “Joker,” took home an Emmy in September and a Grammy last month for her other haunting 2019 score — for HBO’s “Chernobyl.” She was the odds-on favorite to win the Oscar over 15-time nominee Thomas Newman (“1917”), who’s still has never won, two-time winners Alexandre Desplat (“Little Women”) and Randy Newman (“Marriage Story”), and five-time champ John Williams (“Star Wars: The Rise of Skywalker”).
With the Oscar in the bag, Guðnadóttir is set up to become the first person to complete the Egot by winning the awards in the order of the acronym. And since she won the first three so quickly,...
Guðnadóttir, who already netted the Golden Globe, Critics’ Choice and BAFTA for “Joker,” took home an Emmy in September and a Grammy last month for her other haunting 2019 score — for HBO’s “Chernobyl.” She was the odds-on favorite to win the Oscar over 15-time nominee Thomas Newman (“1917”), who’s still has never won, two-time winners Alexandre Desplat (“Little Women”) and Randy Newman (“Marriage Story”), and five-time champ John Williams (“Star Wars: The Rise of Skywalker”).
With the Oscar in the bag, Guðnadóttir is set up to become the first person to complete the Egot by winning the awards in the order of the acronym. And since she won the first three so quickly,...
- 2/10/2020
- by Joyce Eng
- Gold Derby
It hasn’t been a banner year for the Academy’s Music Branch. The Best Original Song category was marred by the disastrous “‘Glasgow’ Snubbing of 2020,” and the Best Original Score category has proven to be similarly dull and unadventurous. Where is Daniel Lopatin’s cosmically neurotic accompaniment to “Uncut Gems?” Or Alex Weston’s arch, contrapuntal, and heartbreaking score for “The Farewell?” What about the soul-stirring synth opus that Dan Levy wrote for “I Lost My Body,” or the bittersweet and playfully helpless orchestrations that Jung Jae-il contributed to “Parasite” (music so vital that it achieves a mutually symbiotic relationship with the film for which it was written)? Sigh.
Instead, the Academy defaulted to a set of old standards, as the five composers nominated for Best Original Score have now earned a grand total of 99 nominations between them. Yes, ninety-nine. And when you consider that “Joker” composer Hildur Guðnadóttir...
Instead, the Academy defaulted to a set of old standards, as the five composers nominated for Best Original Score have now earned a grand total of 99 nominations between them. Yes, ninety-nine. And when you consider that “Joker” composer Hildur Guðnadóttir...
- 2/4/2020
- by David Ehrlich
- Indiewire
Surely no composer can be said to have exploded on the 2019 film scene more than Hildur Guðnadóttir: Emmy-winner for the miniseries “Chernobyl,” Golden Globe winner for “Joker” and now Oscar-nominated for that film, all in less than four months.
The cellist-composer is a breakthrough artist in multiple ways: First, she is a female film composer whose work has garnered global attention; second, she is very much a citizen of the world, born in Iceland, based in Germany, working in both Europe and the U.S.; and third, her “Joker” music reminds filmmakers of the value of enlisting a composer early, even at the script stage, still a rarity.
Asked about her meteoric rise, she is quick to remind us that she’s “been doing film music for almost 20 years, so it’s been a long time coming.” She released her first solo album in 2006, scored her first feature (“The Bleeding House...
The cellist-composer is a breakthrough artist in multiple ways: First, she is a female film composer whose work has garnered global attention; second, she is very much a citizen of the world, born in Iceland, based in Germany, working in both Europe and the U.S.; and third, her “Joker” music reminds filmmakers of the value of enlisting a composer early, even at the script stage, still a rarity.
Asked about her meteoric rise, she is quick to remind us that she’s “been doing film music for almost 20 years, so it’s been a long time coming.” She released her first solo album in 2006, scored her first feature (“The Bleeding House...
- 2/1/2020
- by Jon Burlingame
- Variety Film + TV
After becoming the first solo female composer to win a Golden Globe for original score, Iceland native Hildur Guonadottir is the ninth woman Oscar-nominated in the Best Musical Score category for her work on “Joker,” earning one of the 11 bids – the most for any 2019 release — for the comic-book-inspired drama starring Joaquin Phoenix.
The first woman to compete for a musical score Academy Award was Angela Morley, who collaborated with Douglas Gamley to adapt Alan Jay Lerner and Frederick Loewe‘s music for 1974’s “The Little Prince.” She would compete a second time with the Sherman Brothers with her adapted score for 1977’s “The Slipper and the Rose.” Marilyn Bergman would become the first-ever female winner in 1983 along with husband Alan Bergman and Michel Legrand, for Barbra Streisand‘s “Yentl.”
Two more Oscar-nabbing woman composers would follow: Rachel Portman for 1996’s “Emma” and Anne Dudley for 1997’s “The Full Monty.” Lyn...
The first woman to compete for a musical score Academy Award was Angela Morley, who collaborated with Douglas Gamley to adapt Alan Jay Lerner and Frederick Loewe‘s music for 1974’s “The Little Prince.” She would compete a second time with the Sherman Brothers with her adapted score for 1977’s “The Slipper and the Rose.” Marilyn Bergman would become the first-ever female winner in 1983 along with husband Alan Bergman and Michel Legrand, for Barbra Streisand‘s “Yentl.”
Two more Oscar-nabbing woman composers would follow: Rachel Portman for 1996’s “Emma” and Anne Dudley for 1997’s “The Full Monty.” Lyn...
- 1/14/2020
- by Susan Wloszczyna
- Gold Derby
This morning, Joker composer Hildur Guðnadóttir earned her first Oscar nomination, becoming one of only seven women in the award show’s history to be put up for Best Original Score.
“I think it’s just magnificent to be able to be a part of this conversation, and to shed some light to the situation of women in the industry, especially in this category, because it’s a little bit silly how few there are. It’s completely [incomprehensible] to me,” the composer told Deadline this morning. “So, I think it’s just wonderful to be a part of that conversation, and in the kindest way possible say, ‘Hey, isn’t this a bit ridiculous?’”
In recent years, Guðnadóttir has felt a change in the tide, when it comes to women represented in film music. “I do feel like, in the last [few] years, there’s been so much awareness about the...
“I think it’s just magnificent to be able to be a part of this conversation, and to shed some light to the situation of women in the industry, especially in this category, because it’s a little bit silly how few there are. It’s completely [incomprehensible] to me,” the composer told Deadline this morning. “So, I think it’s just wonderful to be a part of that conversation, and in the kindest way possible say, ‘Hey, isn’t this a bit ridiculous?’”
In recent years, Guðnadóttir has felt a change in the tide, when it comes to women represented in film music. “I do feel like, in the last [few] years, there’s been so much awareness about the...
- 1/13/2020
- by Matt Grobar
- Deadline Film + TV
“Joker” composer Hildur Guðnadóttir became only the fifth woman in Oscar history to be nominated in the original score categories during Thursday’s nominations announcement.
The Icelandic cellist has been on a winning streak, taking home Golden Globe, Critics Choice and Society of Composers & Lyricist awards in recent days. Her music for the comic-book villain, to which star Joaquin Phoenix danced as it was being played on the set, has been much discussed in the industry.
Her nomination was the seventh for a female composer writing an original dramatic score: Ann Ronell was nominated in 1945; Rachel Portman three times, winning for “Emma”; Anne Dudley, who won for “The Full Monty” in 1999; and Mica Levi, nominated for “Jackie” in 2010. Angela Morley was nominated twice in the 1970s for adaptation scores, a category that has been discontinued.
Guðnadóttir was the only newcomer in the category.
John Williams received a record 52nd Oscar...
The Icelandic cellist has been on a winning streak, taking home Golden Globe, Critics Choice and Society of Composers & Lyricist awards in recent days. Her music for the comic-book villain, to which star Joaquin Phoenix danced as it was being played on the set, has been much discussed in the industry.
Her nomination was the seventh for a female composer writing an original dramatic score: Ann Ronell was nominated in 1945; Rachel Portman three times, winning for “Emma”; Anne Dudley, who won for “The Full Monty” in 1999; and Mica Levi, nominated for “Jackie” in 2010. Angela Morley was nominated twice in the 1970s for adaptation scores, a category that has been discontinued.
Guðnadóttir was the only newcomer in the category.
John Williams received a record 52nd Oscar...
- 1/13/2020
- by Jon Burlingame
- Variety Film + TV
“1917” and “Once Upon a Time in Hollywood” were the big winners at the 2020 Golden Globes. The Sam Mendes-directed World War I drama took home big wins for Best Picture Drama and Best Director, while Tarantino’s beloved “Hollywood” dominated all films with three wins: Best Picture Comedy, Best Screenplay, and Best Supporting Actor for Brad Pitt. But Todd Phillips’ controversial comic book film “Joker” also had a major awards night, nabbing two prizes for Best Actor Drama and Best Original Score. The film’s Globes total was greater than other heavy-hitters like “Marriage Story” (one win for Laura Dern amid a ceremony-topping six nominations) and “The Irishman” (shut out amid five nominations).
With two wins, “Joker” is now the most awarded comic book film in Golden Globes history. Joaquin Phoenix’s acting win is the second time a performer has won a Globe for playing the Joker. Heath Ledger...
With two wins, “Joker” is now the most awarded comic book film in Golden Globes history. Joaquin Phoenix’s acting win is the second time a performer has won a Globe for playing the Joker. Heath Ledger...
- 1/6/2020
- by Zack Sharf
- Indiewire
While the Golden Globes logs in another year without a female directing nominee, it did break a brought in another male-dominated category. “Joker” composer Hildur Guðnadóttir received a nomination for Best Original Score, becoming the first woman in 10 years to be shortlisted in the category. Should she win, she’d be the category’s first solo female winner ever.
Guðnadóttir is only the eighth female nominee and just the third to be nominated by herself after Jocelyn Pook (1999’s “Eyes Wide Shut”) and Rachel Portman (2000’s “Chocolat”). All the others had co-composers, including Lisa Gerrard, the only woman to have multiple bids and the only female winner so far, having shared her “Gladiator” (2000) victory with Hans Zimmer.
Though Best Original Score was added at the 5th Golden Globe Awards in 1948, the category didn’t see its first female nominee until Marilyn Bergman was nominated with her partner and husband Alan...
Guðnadóttir is only the eighth female nominee and just the third to be nominated by herself after Jocelyn Pook (1999’s “Eyes Wide Shut”) and Rachel Portman (2000’s “Chocolat”). All the others had co-composers, including Lisa Gerrard, the only woman to have multiple bids and the only female winner so far, having shared her “Gladiator” (2000) victory with Hans Zimmer.
Though Best Original Score was added at the 5th Golden Globe Awards in 1948, the category didn’t see its first female nominee until Marilyn Bergman was nominated with her partner and husband Alan...
- 12/16/2019
- by Joyce Eng
- Gold Derby
Only seven women have been nominated in the original score categories at the Oscars: Lynn Ahrens, Marilyn Bergman, Anne Dudley, Micachu, Angela Morley and Rachel Portman. Three — Bergman, Dudley and Portman — turned those nominations into victories. Bergman won in the now-defunct Original Song Score category back in 1984 for “Yentl,” sharing the prize with lyricist-husband Alan Bergman and composer Michael Legrand. Portman prevailed in 1997 for “Emma,” while Dudley won the following year for “The Full Monty.”
“Joker” composer Hildur Guðnadóttir could well be the first female contender for Best Original Score since Micachu, who was nominated in 2016 for “Jackie.” Before that, it was Portman who was last nominated – in 2000 for “Chocolat.” Guðnadóttir just won an Emmy for her score to the limited series “Chernobyl.” Portman picked up this same prize in 2015 for “Bessie.”
Guðnadóttir would be the fifth-ever Icelandic Oscar nominee. Friðrik Þór Friðriksson was nominated for Best Foreign Language Film...
“Joker” composer Hildur Guðnadóttir could well be the first female contender for Best Original Score since Micachu, who was nominated in 2016 for “Jackie.” Before that, it was Portman who was last nominated – in 2000 for “Chocolat.” Guðnadóttir just won an Emmy for her score to the limited series “Chernobyl.” Portman picked up this same prize in 2015 for “Bessie.”
Guðnadóttir would be the fifth-ever Icelandic Oscar nominee. Friðrik Þór Friðriksson was nominated for Best Foreign Language Film...
- 11/28/2019
- by Jacob Sarkisian
- Gold Derby
Joaquin Phoenix has swallowed up most of the attention for “Joker,” but another aspect of the Warner Bros. film has managed to impress moviegoers: the original score. Composer Hildur Guonadottir was honored with the Best Soundtrack award at the Venice Film Festival for her work on “Joker,” and now she is in the hunt to score her first Oscar nomination.
Should “Joker” earn that original score bid, it would be only the seventh comic book film to do so in Oscar history, following “The Mask of Zorro” (1940), “Superman” (1978), “Dick Tracy” (1990), “Men in Black” (1997), “The Adventures of Tintin” (2011) and last year’s winner “Black Panther.” It would be the first nomination in this category for a film based on characters in the Batman universe, with even “The Dark Knight” failing to score a bid in 2008. This would suggest a bias against such films, so “Joker” would seemingly be at a disadvantage.
Should “Joker” earn that original score bid, it would be only the seventh comic book film to do so in Oscar history, following “The Mask of Zorro” (1940), “Superman” (1978), “Dick Tracy” (1990), “Men in Black” (1997), “The Adventures of Tintin” (2011) and last year’s winner “Black Panther.” It would be the first nomination in this category for a film based on characters in the Batman universe, with even “The Dark Knight” failing to score a bid in 2008. This would suggest a bias against such films, so “Joker” would seemingly be at a disadvantage.
- 11/24/2019
- by Kevin Jacobsen
- Gold Derby
Every couple of years Hollywood decides that a new generation needs an updated film of Emma. The delightful 1996 version, a favorite with Anglophiles, starred Gwyneth Paltrow and won an Academy Award for Best Music, Original Musical or Comedy Score for composer Rachel Portman.
Anya Taylor-Joy (left) as “Emma Woodhouse” and Johnny Flynn (right) as “Mr. Knightley” in director Autumn de Wilde’s Emma, a Focus Features release. Credit : Focus Features
Focus Features, Working Title Films and Universal Pictures have released the first poster and trailer for Emma, Autumn De Wilde’s upcoming film adaptation of Jane Austen’s beloved comedy starring Anya Taylor-Joy.
Jane Austen’s beloved comedy about finding your equal and earning your happy ending, is reimagined in this delicious new film adaptation of Emma. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire...
Anya Taylor-Joy (left) as “Emma Woodhouse” and Johnny Flynn (right) as “Mr. Knightley” in director Autumn de Wilde’s Emma, a Focus Features release. Credit : Focus Features
Focus Features, Working Title Films and Universal Pictures have released the first poster and trailer for Emma, Autumn De Wilde’s upcoming film adaptation of Jane Austen’s beloved comedy starring Anya Taylor-Joy.
Jane Austen’s beloved comedy about finding your equal and earning your happy ending, is reimagined in this delicious new film adaptation of Emma. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire...
- 11/21/2019
- by Melissa Thompson
- WeAreMovieGeeks.com
Bmi announced Wednesday that the performing right organization’s most visible executive in the Hollywood community, Doreen Ringer-Ross, has been elevated to a newly created position, vice president of creative relations, reflecting further programs and events she’s expected to spearhead as she continues to be the top liaison with film and TV composers.
Her former job isn’t going away. Bmi has given Ringer-Ross’ former title, VP of creative for film, TV & visual media, to the newly appointed Natalie Baartz. The org says Baartz will take on the day-to-day duties of that department and work closely with Ringer-Ross.
Both will report to Alex Flores, senior VP of creative at Bmi. “What has set Doreen apart in this competitive industry is her ability to recognize and nurture opportunities,” said Flores in a statement. “Her new role, which she identified as a need for the department and Bmi, is just another example of that vision.
Her former job isn’t going away. Bmi has given Ringer-Ross’ former title, VP of creative for film, TV & visual media, to the newly appointed Natalie Baartz. The org says Baartz will take on the day-to-day duties of that department and work closely with Ringer-Ross.
Both will report to Alex Flores, senior VP of creative at Bmi. “What has set Doreen apart in this competitive industry is her ability to recognize and nurture opportunities,” said Flores in a statement. “Her new role, which she identified as a need for the department and Bmi, is just another example of that vision.
- 9/25/2019
- by Chris Willman
- Variety Film + TV
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